Tuesday, May 25, 2010
Students are encouraged that their color drawing will only be as good as how you can differentiate light and shadow patterns in value only. Once the values are established, the logic of color principles can be applied. Saturation and Temperature. Pastels is all about layering. Unlike paint, you can't mix on your pallette. Most of the mixiing is done in layers of blending. The key of which is a base layer that is often neutral and pushed into the weave of the paper with a tortillion.
Thursday, April 29, 2010
I find that sometimes students rush their drawings to get "finished" in their minds as fast as possible. I can fall prey to this. Instead of using the basic tools presented we go on 'autopilot' and draw what we 'think' we know. We may get something that looks like 'a figure' but more than not it does not look like the figure we are drawing. I have to be vigilant and patient with the process. I specifically slowed down and did a minimal of value in this demo so that you can see how spending more time on one area, in this case the head, leads the way for the drawing to evolve naturally, instead of trying to do "everything at once".
Tuesday, April 27, 2010
Day 1 we focused on the block-in paying attention to the basic essence (balance, gesture and proportion) while also utilizing the shadow edge. Before that however, on the left side we did some 12 minute values sketches getting the basic key of the painting, that is understanding how dark the general light mass is and the general shadow mass. This is a way of visulaizing your final drawing and preparing yourself to dive into the richness of the tonal varieties without fear.
Wednesday, April 21, 2010
Wednesday, April 14, 2010
Basic review of the simple poster and the basic characteristics of light. Drawing is a balance between what we see and what we know. The simple poster is seen best when you are squinting your eyes. The core shadow is always the darkest part of the shadow.
Wednesday, April 7, 2010
In a sustained planar analysis the secondary planes are blocked in. Having a guide such as the Loomis handout is very helpful if its your first ever planar study of the figure. Remember, whatever happens on one side is happening on the other, in perspective. This is the basic principle ofsymmetry.
In a quick sketch, establish the general essence of the pose, which is the gesture, balance and proportion. Then establish a simple sense for the volume of the three movable masses, which are the head, rib cage and the pelvis. You are essentially establishing the mannequin or primitive forms of the skeleton. From there you locate and identify the key surface landmarks of the skeleton, which are, the pit of the neck, acromion process, the sternum, the last rib, the point of the ilium and the pubis. The basic landmarks of the skull are the chin, the zygomatic bone and the brow. On the back you will use the sacrum and the underplane of the buttocks. Now using your understanding of perspective, break the forms down into simple box forms, exaggerating the dynamic orientation of each one in relationship to the other.
It is helpful to break down complex organic forms in order to better understand the structure, geometry/architecture, symmetry and volume of a form. Planar analysis helps us better understand what happens to the light tonally on a form. The tools used are the central axis line and linear perspective as it relates most specifically to the box form.